his work draws on Marc Augé's seminal concept of the non-place: a spatial condition emblematic of supermodernity. These are environments devoid of historical resonance, cultural memory or enduring human connection; they are the transient thresholds of late capitalism where identity dissolves into anonymity.Non-places are not meant to be inhabited in the traditional sense, but traversed. Airports, motorways, chain hotels, and shopping centers - spaces of hyper-functionality and controlled circulation - become sites of silent conformity. Here, one follows instructions, obeys signs, scans screens. The architecture speaks in codes of efficiency, standardization and temporality, estranging us from place and, subtly, from ourselves. In a world shaped by relentless globalization and accelerated mobility, these non-places proliferate: indifferent to geography, impervious to memory. As they expand, they erode the specificity of lived experience, giving rise to a placeless existence where solitude is communal and time feels suspended.This project interrogates these architectures of transience, inviting reflection on how space, stripped of relational or historical depth, reshapes our subjectivity. What does it mean to pass through a world, rather than dwell in it?

Maria Koskivirta (b. 1999) is Prague/Helsinki based interdisciplinary artist with an emphasis on the audiovisual medium. Her practice focuses on the spectacular and illusionary aspects of a society and the structures that are built to deceive us; the presumed condition of postmodern society and it's refusal of depth. In her work she is especially interested to examine the condition of images in the current age of vernacular photography; transformations in subjectivity and how these social images work in the landscape of (post)digital art by presententing them in their social, conditional form.With blending fact and fiction she interrogates the hyperreal qualities of our society. Also integrating the body and some aspects of low-resolution images through the mediation of reprodutions that she uses in her work as a tattoo artist she is questioning authorship of images in the age of virtual circulation.